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Martha Argerich

The Complete Concerto Recordings (Box-Set)

With this special LP limited edition box set, Deutsche Grammophon pays tribute to an extraordinary musicalpartnership. The 6LP set collects all the concerto recordings made by pianist Martha Argerich with conductorClaudio Abbado over more than 45 years, covering works by Beethoven, Chopin, Prokofiev, Tchaikovsky and many others. "Between them Argerich and Abbado generate a heady world of romance and electricity," BBC Music Magazine 2014.

Prokofiev & Ravel Piano Concertos

Prokofiev's great Third Piano Concerto has been Martha Argerich's signature piece since she won competitions with it at the age of 16 in 1957. If you're used to Bryon Janis' reading on Mercury or have never heard Argerich play Prokofieff, you're in for a shock. The only other artist I can think of who played the Third with this kind of energy at this breakneck tempo was Prokofiev himself, and Prokofiev's performance is all speed and slop. Despite its power and pace, Argerich's is far more agile, deeply thought out, and various - built upon the precise articulation of rhythmic and dynamic contrasts. Be they fortissississimo or pianissississimo, presto or adagio, every note, every chord, every bravura run and leaping flourish is sounded with passion and precision. It's as if Argerich is uttering one long, complex, fully articulate sentence in one long thrilling breath. Abbado and the Berlin Phil keep up with her, though it often seems (as it often does with distinctive pianists in distinctive performances) as if Argerich is conducting as well as soloing. Full credit goes to DG's engineers, whose close miking of the piano perfectly serves the clarity of line and muscular poetry of Argerich's sensational reading. A must-own disc. - Jonathan Valin, The Absolute Sound, October 2011, Issue 216

Chopin - Scherzo No. 3 / Brahms - Rhapsodies (Speakers Corner)

The debut recording by the Argentinian pianist Martha Argerich took the public by the storm all over the world - and the applause has still not subsided! A mere glance at the repertoire shows that she was reaching for the stars. To bring five composers together on an LP of roughly 45 minutes length means nothing other than speaking five different musical languages - and Martha Argerich proves herself a master of them all! The demonic opening of the Scherzo in C sharp minor gives way to an iridiscent dialogue which sings and sparkles beyond compare. The Barcarolle rocks gently along; Prokofiev's Toccata is filled with dynamic force and nervous agitation; Ravel's Jeux d'eau is pensive and introverted, with the water rippling in a circular motion. As a contrast, the two famous Brahms Rhapsodies are performed with passion, impetuosity and occasionally the required heaviness.

This recording is surely one of the brightest candles to burn anew on Deutsche Grammophon's birthday cake.

This record was part of the 3-LP Set "The Conductors" and is now available again.

Musicians:

Martha Argerich (piano)

Recording: July 1960 at Beethoven-Saal, Hannover by Heinz Wildhagen

Production: Prof. Elsa Schiller

About Speakers Corner

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

Chopin & Liszt: Concertos for Piano and Orchestra (Speakers Corner)

The virtuoso concerto is often criticised by audiences chatting in the concert-hall foyer as being superficial and narcistic, but a brilliant soloist performing with a dramatic and sonorous orchestra certainly has no need for excuses. Let's be honest: we all want to enjoy the brilliance and ecstasy of such music. Putting Chopin's brilliant youthful work, with which he took Paris by the storm, alongside Liszt's symphonically structured work with its manifold improvisatory passages is rather like comparing apples and oranges. However, a compilation of the two works on one record is highly desirable, especially when the youthful and athletic Martha Argerich is at the keyboard. She lends Chopin's dominant piano part elegance, pearly lightness, and brings out his exquisite harmonies to create haunting poetry in music.

Just as effortlessly she brings the sharp contrasts between lyrical airiness and extreme tension to perfection in Liszt's E flat major concerto. With shivers running down the spine, one eagerly awaits Argerich playing the forceful passages, where her complete control is particularly evident in the phenomenal chordal passages.

Recording: Feburary 1968 at Walthamstow Townhall, London by Heinz Wildhagen

Production: Rainer Brock

About Speakers Corner

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

Chopin: The Legendary 1965 Recording

Martha Argerich, born in 1941, is widely regarded as one of the greatest pianists of the 20th century. She was born in Buenos Aires, Argentina.

She recorded this recital in 1965, shortly after her victory in the prestigious Chopin Competition, but it only became available in 1999, when it appeared on CD.

This is its first release on LP, the format originally intended.

Argerich was quite the most formidable player we had ever come across, said the album's producer, Suvi Raj Grubb, Nothing would have been beyond this woman. All this adds up to a recording that is indeed legendary.

Bach & Schumann

Their programme comprises Bach (Sonata for Violin and Piano No. 4 in C minor, BWV 1017, whose lilting opening movement became the sublime 'Erbarme dich' from St Matthew Passion), Brahms (Sonatensatz in C minor, Op. posth.) and Schumann (FantasiestÜcke, Op. 73 and the Violin Sonata No 1 in A minor, Op 105). "Working with Martha was a unique experience for me," Itzhak Perlman has said Her brilliance and the colours she uses when she plays are recognisable as soon as you hear them: it's her - nobody else sounds like that I am so excited that we were actually able to record together again." Martha Argerich is no less enthusiastic in her praise of her duo partner: "I feel so stimulated to play with Itzhak, it's really a feast - fantastic! It's a very special relationship, I am completely enchanted. it's like having a conversation You get inspired by what you hear at a particular moment. There is an interplay, a lot of things happen - it has spontaneity!"

Mozart: Piano Concerto No.25 & No.20

The first new release for ten years from Martha Argerich and Claudio Abbado is their first ever album of concertos by Mozart. The legendary pianist and conductor add the sublime music of Mozart to their unrivalled, multi award-winning DG discography of concertos by Tchaikovsky, Chopin, Ravel, Prokofiev, Beethoven and Liszt.

Both concertos were recorded with Claudio Abbado's Orchestra Mozart, at concert performances at the 2013 Lucerne Festival that had critics searching for new superlatives. The album contrasts two very different works. Written in D minor, the key of the Queen Of the Night and the opening of Mozart's Requiem, the darkly dramatic No.20, K.466 has a stormy, operatic temperament that looks forward eighteen months to the premiere of Don Giovanni.

With its majestic and radiant opening and a march famously reminiscent of the Marseillaise, No.25 in C major, K.503 is the culmination of the twelve transcendent concertos Mozart wrote in Vienna between 1784 and 1786. This release is Martha Argerich's first recording of solo concertos by Mozart on Deutsche Grammophon.

Born in 1948 in Riga, Latvia, Mischa Maisky received his first music lessons there at the Children's Music School and Conservatory. In 1962 he entered the Leningrad Conservatory. In 1965 his debut with the Leningrad Philharmonic earned him the nickname "Rostropovich of the Future". One year later he was a prizewinner at the International Tchaikovsky Competition in Moscow and began his studies with Rostropovich at the Moscow Conservatory while pursuing a concert career throughout the former Soviet Union. After being imprisoned in a labour camp near Gorky for 18 months in 1970, he emigrated from the USSR.

In 1974, he studies with the legendary Gregor Piatigorsky, thus becoming the only cellist to have studied with both Piatigorsky and Rostropovich.

In 1985, he signed his first exclusive contract with Deutsche Grammophon where recorded Schumann's Concerto with Bernstein and the Wiener Philharmoniker (released 1986) and Bach's Cello Sonatas with Martha Argerich and Bach's Six Solo Suites.

Tchaikovsky: Klavierkonzert

A win at the International Chopin Piano Competition in 1965, at age 24, officially put Martha Argerich on the musical map. An exciting and mercurial artist, Argerich has recorded extensively throughout a career that has encompassed works by Bach through Beethoven, Schumann, Liszt, Debussy, Ravel and Bartók among others.

Here, the multiple Grammy-winner and 2012 Gramophone Hall of Fame inducted Argentinian pianist performs Tchaikovsky's Concerto No. 1 In B Flat Minor For Piano & Orchestra, Op. 23 with accompaniment from the Royal Philharmonic Orchestra as conducted by Charles Dutoit. "The very fine sound of the horns right at the start augurs well and the wonderful weight and quality of Martha Argerich's opening if chords suggest that at any rate one need have no worries about the quality of this recording...The present record is really superb. So is Argerich, giving a performance of great range and of much subtlety...Praise must go, too, to the conductor, Dutoit who accompanies excellently and with notably good phrasing." - Gramophone/1971

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